Whitbread D. The Design Manual (анг.яз.)
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q Editorial
Treat the editorial the same as the text. An editorial is usually an opinion or
an introduction of the content, a commentary rather than a presentation of
new facts.
q Profiles of contributors
q Letters to the editor
The text of the letter is usually in the same type as the text of the
newsletter, but the salutation (‘Dear Editor’) and the sign-off can be treated
differently. Often salutations are discarded. You will need to design another
level of text for the editor to respond to any issues raised in the letter (so
the response cannot be confused with the letters). Italics are often used for
responses.
q Publisher’s information
– name of publisher and production staff (editor, art director,
contributors)
– mailing address
– telephone number/s
– fax number/s
– e-mail and Web addresses
– the number of issues a year
– how to subscribe (including price and any discounts)
– how to advertise
– advertising contacts
– guide for contributors (how to submit articles)
– copyright information, i.e. ISSN/ISBN
Americans call the listing of publisher information the ‘masthead’; the
English call it the ‘colophon’; and in Australia it is sometimes referred to as
the ‘skite box’. It is mostly in very small type. In a newsletter or newspaper,
it is often a long thin column on the second page or back page. Often it is
on the verso of a contents list and opposite the editorial in a magazine. In a
journal, it is mostly on the verso of the title and sometimes on the back
page or inside cover.
q Running heads/feet (headers and footers in computer terminology)
– name of publication
– date and/or issue number
– folio (page number)
– article title on recto pages (in journal)
The text
q Department headings
There will be department headings that separate distinct subject
categories—editorial, letters, recipes, puzzles, news, notes, hints,
personnel, and so on. They are usually quite small at the top of the page or
column. They sometimes incorporate little illustrations or symbols for visual
identification.
q News in brief
News sections can require different heading levels and typography as they
are often set on narrower column measures than feature articles. They may
need a dateline: ‘Canberra, Monday—The Prime Minister…’
q Pull-quotes
q Boxed text
q Calendar of events
q Listings of suppliers, advertisers
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q Classified advertising
q Feature article headings
Feature articles will probably have three levels of heading—the main and
two levels of subheading within the article. The main heading for feature
articles can be a standard style or vary with each article. Both approaches
can work, but the latter is more design-involved, so can slow production.
The two headings within are usually, in order, a bold heading about the
same size as the text and an italic heading the same size and weight as the
text.
q Author/writer/contributor by-lines
Sometimes the by-line will just be the author’s name. It is usually smaller
than the text, often set in capitals, and frequently has a particular layout
relationship to the article heading. However, by-lines sometimes include
more information about the author (a short ‘bio’) which needs to be treated
as a separate level of information to the text—say, in the secondary
typeface or, more usually, in italics. Some magazines and newsletters prefer
to feature all their contributors’ photos and bios on a page upfront, often
following the editorial.
q Lead paragraphs
The ‘lead’ (pronounced ‘leed’) paragraph is the first paragraph of a story
and summarises the content of the story, introducing the subject, its
coverage and sometimes the author. It is usually set in a larger size than the
text, often to a different width (say, to a double column width). This is a
gentle way to ease the reader into the text.
q Abstract
In journals, there is often an outline of the content and description of the
author’s approach to the paper contained in an abstract of 100–200 words
that precedes the main text. This is often set in italics in the same size as
the text.
q Body copy (main text)
This is the most important type decision, as the reader will read more text
than any other level of information. It must be easy to read. Spend time
deciding on typeface, its size, its width and, most importantly, its leading.
Decide whether you will indent paragraphs or space them.
q Dot points
q Table styling
q Diagram style and labelling style
q Captions
Captions are sometimes smaller than the text and sometimes in italics. They
are mostly positioned underneath the photograph or occasionally in a
narrow column to the right of the photograph. There is much flexibility in
caption typography. Decorative fonts might be used to continue a design
theme into the typography of feature articles.
q Continuation lines
There are two styles required here for the lines that direct the reader to the
page where the article is continued and to identify, once the reader is on
that continuation page, which article is being continued. They can be as
simple as ‘To p. 5’ and ‘From p. 1’, or they may read ‘Continued on page 5’
and ‘Name of article. From page 1’. Use them sparingly, because there is a
considerable reader frustration factor with articles that jump through
magazines and, unless they are considerably hooked, people will simply
stop reading the article at the jump point.
q End of article symbol
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Custom magazines
There are a number of success stories in custom magazines
or client publishing. In-flight magazines such as Qantas’s
The Australian Way and Ansett’s Panorama are well known
and readily recognised custom magazines. NRMA’s The
Open Road started as a newspaper and has moved to a
magazine format. The big new area is the magazine
published by health insurance companies, community
clubs, government organisations, retail stores, shopping
malls, and so on.
Corporate magazines like Sanity music store’s Sain
Unlimited, Video Ezy’s Ezy Entertainment and Foxtel the
Magazine are popular with their readers for many reasons.
They are already purchasers of the product or service and
can catch up with the latest offerings; their interests in
purchasing or belonging will probably mean that there is a
range of related information that further identifies them
with that entity so their interests may be linked.
Woolworths/Safeway’s Australian Good Taste is a good
example of a corporation capitalising on its market. The
magazine is available only in the store (thus using an
existing distribution network and saving external distribu-
tion costs). The retailer links with wholesalers and other
corporations to cross-promote products. The existing
customer profiles provide the readership targets. The
magazine also reinforces television advertising.
Not all custom magazines are sold. Many are free to
current members or customers. The information becomes a
tangible representation of membership—available only to
those ‘in the know’, underlining that corporate ‘You are
special to us’ message.
As another tool in the marketing kit, the custom
magazine has some strengths that are hard to ignore.
Understanding that it is easier and cheaper to generate a
return purchase from an existing buyer than to generate a
new lead, the custom magazine is able to keep the organ-
isation’s name in the purchaser’s mind. Recognising that a
purchase decision is usually the result of about nine prior
encounters with a product, the magazine has an ability to
add to the tally of those encounters. The printed magazine
has a longer shelf-life than newspapers, suburban news-
papers, letterbox drops and pamphlets—and is likely to be
dipped into more times by potentially more people (in
doctors’ surgeries and waiting rooms around the nation),
giving greater value for the investment.
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The subject matter covered will most likely have a
resonance with the reader, too, since there is already a
relationship. As with any other type of magazine, develop a
profile of the reader—this will already be on the marketing
documentation—customers and potential customers,
suppliers and staff.
Often there will be an introduction by the CEO as well
as an editorial. The CEO will want to warmly embrace the
reader with the image of the caring, responsible organ-
isation. The editor will want to imply editorial freedom
from the originating organisation—thereby gaining more
credibility as a ‘real’ magazine and enhancing the image of
the product as a magazine, rather than as a brochure or,
worse, a catalogue. The perception of distance from the
originating organisation is a fine line to walk. There must
be sufficient corporate identification and image enhance-
ment to warrant the expenditure.
Of course, the advertising policy will often be quite
restrictive. Certainly, competitors do not get a look in. The
type of advertising allowed must be decided on and offered
to particular businesses or organisations that fit the profile
of the magazine’s marketplace. This, too, is a fine line to
walk—a magazine is expected to have advertising, but a
reader wants to be able to find the articles! Advertising also
helps defray publishing costs. The magazine publisher may
not need to make a profit out of the custom magazine itself,
but it might want its production to be as close to cost-
neutral as possible. The designer must keep this in mind
and work within the publisher’s policy.
The editor will probably commission a few feature
articles for each issue and have a few regular columns in
addition to the expected new product round-up, news pages
and product reviews. Designers can use involving devices
such as games pages and cartoon strips, and market
penetration tracking devices such as competitions.
A custom magazine should fit the corporate image
program. It will have, in most cases, a separate identity. It
does not have to follow corporate style manuals, grid
systems or even typefaces. However, somewhere upfront—
either on the cover or the contents page—the organisation
needs to be identified using its logo and colours.
It is in the corporate identity’s interest that the logo and
masthead work in close proximity. This does not mean that
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the logo must be a component of the masthead. Although
this is often done, it is done more in newsletters than in
custom magazines.
Sometimes this corporate awareness is achieved simply
by having a luxurious amount of the company’s own
advertising scattered through the magazine. This helps to
maintain the image of the magazine’s editorial freedom.
Pamphlets and brochures
‘Pamphlet’ in Australia translates as the traditional form of
a two-fold, six-panel pamphlet at 1/3 A4 (210 × 99 mm),
generally referred to as ‘A4 folded to DL’ (‘DL being the size
of the envelope it fits into: 110 × 220 mm). The 1/3 A4
pamphlet is now so entrenched that if a client asks for a
pamphlet and gets another size, a designer has a lot of
explaining to do! And reasonably so, since most pamphlet
racks and counter boxes are now made for the size and DL
envelopes make its mailing cost-effective.
The standard requirements for producing a pamphlet
are a front cover that is visually interesting and distinctive
and a panel design that continues the style established by
the cover.
There are two possible methods of folding—the
concertina fold or the gate fold, which give the panels a
different order. The panels are considered in relation to one
another to ensure they remain interesting as readers
progress through the pamphlet.
Because of their ephemeral nature and the speed with
which readers process them, the pamphlet should have a
series of headings that effectively summarise the content of
the pamphlet, including any special offers that might be
made. Often, readers will scan only the headings and miss
material that is within the body text.
Experimental techniques can be used on ephemeral
work like pamphlets where getting attention quickly and
cost-effectively is the main requirement. Varying the 1/3 A4
pamphlet size or format in some way will have a greater
impact. For example, 1/4 A4 will still fit into pamphlet racks
and DL envelopes—it may even suit the information better
to have eight panels instead of the 1/3 A4’s six panels.
Perhaps turn the pamphlet around 90° and open it like a
letter. Remember that the title will probably need to be
readable in a rack—you can repeat the title sideways if
necessary to accommodate this use.
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DOING IT CHEAPER
Pamphlet printing
A pamphlet can be cheaper if it can
be produced by a quick printer on a
pre-cut A4 sheet of paper. This can
be done provided there are no bleed
areas—where colour extends off the
page—and there is a gripper edge of
10 mm along one edge of the sheet
on both sides and about 5 mm
clearance on all other edges on
both sides.
It can be cheaper still if there is
no halftone work (photographs to
scan and add in) and it can be
printed directly from a good-quality
laser print to avoid bromide costs. To
improve the resolution, prepare the
pamphlet in an enlarged format such
as A3 and ask the printer to reduce it
to 71%. Remember that, because of
this reduction-in-production phase, a
10 point typeface needs to be
enlarged to 14 points and tracked
slightly looser. Lower resolution
output can also be effectively
disguised by printing on recycled or
textured paper stock.
10mm
5mm 5mm
5mm
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DOING IT SMARTER
Pamphlet covers
The front panel of a pamphlet is
often not first seen in its entirety—
it will need to be removed from the
rack or box. So attract attention to it
in the top third of the front cover.
Photos can attract attention (but just
a bit of sky and cloud, with the main
subject obscured by the pamphlet in
front, will not cut it these days!).
Perhaps put a subject heading at the
top of the pamphlet.
Remember, too, that a pamphlet
in a letterbox drop or on tables for
pick-up will sometimes be seen first
from the back. So make the back
outer panel attractive, too: let it tell
some of the story, or just repeat the
front information, perhaps adding the
usual address, phone numbers, map
and other contact information. In this
way, whichever way someone
receives the pamphlet, some of the
message gets through—even if
people never open it further or just
glance at it as it lands in the bin.
Front
1
23
Back
4
56
Front
5
61
Back
2
34
Front
2
3
1
Back
4
5
6
DOING IT SMARTER
Material to consider for
panel 5 in a gate-folded
pamphlet
When you open a gate-folded
pamphlet, panel 2 is on the left with
panel 5 on the right. Opening panel 5
reveals panels 3 and 4. So panel 5
has been seen out of sequence and
higher in priority than its number
would suggest. As a result, it is often
used for material that stands alone:
q Guarantee
q Endorsements
q Order or booking form
q Quote
q Personal invitation (signed)
q Summary of features
q Special offer
Concertina fold ■ Concertina fold vertical ■ Gate fold ■
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If the pamphlet does not need to be read in a rack and is
dropped into a letterbox, try a triangular format. Most
people will open a triangular format just to see how it
works. If you fold an A4 sheet in half to A5 and then trim
the top and bottom at 30° angles, you will create an
equilateral triangle. There is some paper wastage, but the
organisation can preprint bookmarks or coupons on the bits
trimmed off, so the paper will not be wasted.
Catalogues
A catalogue can be as simple as a table with columns for
each product’s name, description and price, photocopied
onto an A4 sheet of paper. Or it can be a large brochure
in magazine format with editorial content and sumptuous
illustrations.
If a catalogue is a complex inventory of a company’s
products, it can be contained in a binder that is designed to
accept regular update sheets. Dividers that identify a
particular product range can separate the literature. This
sort of catalogue is more often for trade use, rather than for
the general public.
The catalogue’s colour palette and design can be varied
according to the image of the company, its products, and
the type of shopper who frequents its stores. It can be
understated and stylish, or brash and loud; visually exciting
and distracting, or sparse and clean; funky, hip and
streetwise, or logical and nerdy.
Catalogues are often seasonal, and seasons are usually
associated with particular colour palettes. The spring and
summer catalogues will use clear bright colours and lots of
white space. In contrast, Christmas catalogues, even in the
height of summer, will probably use lots of rich, warm
colours and soft-focus photography—filters can give
everything a golden, nostalgic glow. The autumn and winter
catalogues will usually use warm, dark, rustic colours.
Many catalogues include hints for the customer that
involve the products for sale: care and maintenance advice;
fashion tips or accessorising options; hints for enhancing
business or home life; recipes or activity sheets; guides to
collecting complete sets; endorsements by famous users;
fictitious stories; and interviews with the makers or with
company staff to give that ‘personal’ touch—effectively a
seal of quality.
Most photography in catalogues is shot in a studio.
Here, light is controllable, helping the photographer
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capture truer colours and finer details. Sometimes a
catalogue will have a full shot of a product, a sequence of
detail shots, and a swatch of available colours, each keyed
with its name: sand, midnight, jade, charcoal… Each
photograph is then labelled or captioned with the product
description and purchase information.
If there is more than one product in the photograph,
each will be alpha-coded either per page, per double-page
spread, or consecutively throughout the catalogue. Using a
separate coding table for each double-page spread is
preferable because any last-minute changes in product
availability will force coding changes only to that one
spread, rather than to the whole catalogue.
Some organisations use their inventory codes to resolve
ordering issues, but they can often be long sets of numbers
and letters that not only can look intrusive when superim-
posed over the photography, but can be incorrectly copied
onto order forms. The coding therefore is often alphabetical
rather than numeric, supporting 26 products across a
double-page spread. Then the order form will usually ask
for a page number and a product code. This means that
multiple products will share the same letter code, so to
avoid misquoted page numbers (and, truthfully, in how
many catalogues can you find the page number that easily
anyway?), you can introduce hybrid alphanumeric (A1, A2,
B1) or double-letter (AA, AB, BA) codes.
Consider what the organisation is trying to achieve with
the catalogue. Is it to get more people through the doors for
a 2-week blitz? Is it to get phone orders immediately with
credit card payments? Is it to get postal orders? Is it to
increase awareness of the product range and build the
organisation’s reputation so it is thought of whenever
someone is in the market for that product?
Each of these motivations has implications for the
catalogue’s design, so find out what the organisation’s
motivation is. It’s frustrating when a reader decides to buy
something from a catalogue, but cannot find complete
information or even a telephone inquiries number—only an
inconvenient shop address or postal options. The vendor
loses the sale.
If the intention is to get people into the store, maybe a
coupon that is redeemable only in-store will do it. These
coupons can be used by the store to gain some valuable
feedback on its customer base and the effectiveness or
otherwise of its advertising. The store can count how many
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CHECK LIST
Catalogues
q Picture of product (photograph
or illustration)
q Product code keyed to picture
q Description and brand
q Price, colours, sizes and
materials
q Special deals or original price
q Product order code
q Colour-matched swatches
q Availability
q Sizing details
q Supply and shipping options and
prices
q Payment options
q Order form
q Location listings and maps
q Contact information including
phone number, postal address,
freepost address, fax, e-mail and
Web address
q Legal requirements
q Editorial content [optional]
q Hints [optional]
q Guarantees
q Product endorsements
q Special offers
q Coupons
q Return policy
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coupons are returned from a particular catalogue (a simple
code can be placed in the corner of each coupon). If
shoppers need to write their names and addresses or even
just their postcodes on the coupon before they redeem it,
the store can find the boundaries of its catchment area, or
whether its offer was more attractive to men or to women.
Next time, the store can focus on a particular area where it
has found advertising to be effective.
Order forms need to be easy to use. People must be able
to fill in the order form quickly and accurately. Codes must
be able to fit comfortably in handwriting in the allotted
space. Product descriptions need not be too long and
should probably follow the code in the original product
description in the catalogue, so the prospective buyer
doesn’t have to search for the description or, worse, make
one up from the blurb. If it is likely that a special promo-
tion will be sought by most buyers, then preprint its
product code, description and price on the order form.
Leave sufficient room for addresses, credit card numbers
and signatures.
Menus
If you need to prepare a menu for a dinner for an organ-
isation or for a local restaurant or even for your own
restaurant, you might want to consider some typographical
decisions that have an impact on the image you are trying
to project.
Maintaining a consistent identity is important. So much
consideration has gone into the creation of an atmosphere
through décor, lighting and entertainment, and the
preparation of a selection of dishes and complementary
drinks to tempt the palate, it is a shame to break the
experience with a poorly conceived menu.
A set of good-quality, long-life menu covers that link
with the restaurant logo, décor and table settings and will
withstand the rigours of restaurant use are a good invest-
ment (and it might be useful to suggest this to the client).
The internal pages can then be the only reprinted and
discarded pieces with seasonal menu changes, saving both
money and the environment.
You need to make design decisions that make the
updating of the internal pages fast and accurate. Usually
that means avoiding illustrations and relying on type to do
the job. Creating a style sheet also speeds the process.
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We’ve all experienced the following frustrations: the
prices are too far away from the name of the dish and the
dishes are too cramped on the sheet to accurately identify
the corresponding price; the descriptions are too small to
be comfortably read in the low light of the restaurant; we
can’t find the drinks list when the waiter has just asked,
‘And would you like any drinks with that?’; and there is
not enough space between the entries so we associate the
price above the dish with it instead of the price below
its description.
Consequently, there are four type decisions that need to
be made when designing the style sheet for a menu:
r part headings that signal the courses or parts of the
meal: entree, main, dessert, side orders, drinks…
r cuisine headings that indicate the type or style of food:
pork, seafood, vegetarian, Malay, Szechuan, pasta,
cocktails, sparkling wines…
r name of the dish
r description of the dish and its price.
The first and second are signpost headings—they need
to jump out quickly to propel diners through the menu to
their preferences. You can use more decorative typefaces
but keep them in a style that is compatible and reinforces
the style of the logo typeface. For country kitchens, perhaps
Caslon Antique; for wedding menus, script typefaces
(usually kept large—18 points or more—and lower case for
ease of legibility); and for French restaurants, maybe art
nouveau type.
The name and description of the dish need to be
comfortably read and are treated like body text—easy-to-
read typefaces. This is where handwriting, though quaint
and stylish, can be a hindrance to a good menu. Legibility
is important. Classic typefaces are usually good, readable
typefaces for this information.
Distinguish the name of the dish from its description by
using normal text against italics, or bold text against normal
text, or small capitals against lower case. You can use rules
to separate the dishes to avoid some reading difficulties. In
your style sheet for the dish name, create the rule above the
name. It is just as effective to add a set amount of space
between entries. This can be as little as 3 points and still
work successfully.
Many menus are created like the contents lists in old-
fashioned books, with dot leaders from the end of the
description, or from the end of the name of the dish, to the
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